1. L03-421-15-10-07 Performance options: Music: 15 Poetry: 9 Instruments needed: 1 violin Today, we will take some time at the end of class to get started: Music: putting a group together –Instruments, Music, Times to meet Poetry: Selections: poets, volumes, sequences –Discussion times & venues. Recorded discussions

2. For today: Systems Back to Williams’ Spring and All & Deep Practice First principle: don’t settle for what (you think) is already in your grasp. corrolary: don’t be afraid of mistakes Second principle: work at the edge of your competence, ability, knowledge. The fundamental trick: don’t suppose that what you don’t know is out ahead of you. It is in fact more likely that it is the other way.

3. boundaries Is what you will learn ahead of you, or behind you? ? The subtle issue is: what have you assumed? Why? On what evidence? How sufficient is what you presume at the moment that you know?

4. Systems: Relations From “Against the Weather” (on line) “I’ve been writing a sentence with all the art I can muster. Here it is. The work of art is important only as evidence in its structure of a new world which it has been created to affirm. Let me explain. A life that is here and now is timeless. That is the universal I am seeking: to embody that in a work of art that is always ‘real’.”

5. The argument... Does not presume that the discovery is exotic or unknowable: rather, it shifts the focus from a presumption of representation to a condition of affirmation. For this reason, it is likely to be very difficult to grasp, since it is working against a whole packet of presumptions that simply will not hold up. 1.A work of art does not in any way ‘create a new world.’ It it does, it is fantasy, and the one consideration of importance will not apply: you cannot act on it, and you cannot put it into action for any purpose other than self-mystification. 2.The work of art does not represent something else. It is a structure, a network, an order. 3.The work of art does not provide you with new articles of belief, a ‘philosophy of life’ (wretched phrase), or new information. It is evidence of a new world (the world is always in this sense new: it has changed from the immediately anterior moment, and will continue to do so until the ‘end’—and which point we will not be there either. 4.It IS an affirmation, not of some new world, but rather, the very world in which you live and act—which is most likely to be the box in which you contain your notion of it.

6. The embedded systems of language Semantic: (not word & meaning, or signifier & signified: three components. C. S. Peirce 1.Quality (identifier) 2.Relation (is it distributed?) 3.Interpretant (does it unify consciousness such that you can pick it out?) Syntax: what are the relations to be established? From word to sentence: A gives B to C Fundamental cases: Agent, Instrument, Dative, Object, Two meta features: +/- Animate, +/- Affective Agent: ++, Instrument: +-, Dative -+, Object – Grammar: conventions Rhetoric: effect

7. mediation TOPIC COMMENT (History) (Community) (Selecting) (Identifying) (Structuring) {[Perception] ) ( Cognition]} {[Syntax] ) ( [Situation]} (Predicating) (Correlating)

8. Tonality Pythagoras: Plato’s Timaeus And he proceeded to divide after this manner. First of all, he took away one part of the whole [1], and then he separated a second part which was double the first [2], and then he took away a third part which was half as much again as the second and three times as much as the first [3], and then he took a fourth part which was twice as much as the second [4], and a fifth part which was three times the third [9], and a sixth part which was eight times the first [8], and a seventh part which was twenty seven times the first [27]. After this he filled up the double intervals [that is, between 1, 2, 4, 8] and the triple [that is, between 1, 3, 9, 27], cutting off yet other portions from the mixture and placing them in the intervals, so that in each interval there were two kinds of means, the one exceeding and exceeded by equal parts of its extremes [as, for example, 1, 4/3, 2, in which the mean, 4/3 is one third of 1 more than 1, and one third of 2 less than 2], the other being that kind of mean which exceeds and is exceeded by an equal number. Where there were intervals of 3/2and of 4/3 and of 9/8, made by the connecting terms in the former intervals, he filled up all the intervals of 4/3 with the interval of 9/8, leaving a fraction over, and the interval which this fraction expressed was in the ratio of 256 to 243. And thus the whole mixture out of which he cut these portions was exhausted by him. This entire compound he divided lengthwise into two parts which he joined to one another at the center like the letter X, and bent them into a circular form, connecting them with themselves and each other at the point opposite to their original meeting point (35b-36c).

9. The pythagorean scale 19/881/64 4/3 3/2 27/16 243/128 2 (x 9/8) (x 256/243) (x 9/8) (x 9/8) (x 9/8) (x 256/243)

10. Finale Notepad (v.12) On the website, a musical scoring, editing, and composing tool.